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Foreign film in Poland, 1964–1975: selection, import and audience. An introduction 波兰的外国电影，1964-1975:选择、进口与观众。介绍

Images (Poland) Pub Date : 2023-01-05 DOI: 10.14746/i.2022.41.05

K. Klejsa

引用次数: 0

Pause and Rewind: Memories of Age-Inappropriate Film Viewings in the 1980s 暂停和倒带:20世纪80年代不适合年龄的电影观看的记忆

Images (Poland) Pub Date : 2023-01-05 DOI: 10.14746/i.2022.41.08

P. Turner

{"title":"Pause and Rewind: Memories of Age-Inappropriate Film Viewings in the 1980s","authors":"P. Turner","doi":"10.14746/i.2022.41.08","DOIUrl":"https://doi.org/10.14746/i.2022.41.08","url":null,"abstract":"\u0000 \u0000 \u0000This article explores some of the findings from a work-in-progress project that I began working on in 2020 to investigate the retrospective memories of 1980s British audiences surrounding viewing films classified either 15 or 18 by the BBFC, while the participants were underage. I question the so-called victims of censorship that have matured into their 40s and are no longer at the mercy of parents or the classifications of the BBFC in order to investigate the retrospective memories of these adults who were once participating in forbidden viewings as children in the 1980s. This article explores Annette Kuhn’s idea that for audiences, the movie fades from memory to make way for more movies, but it is the life experiences that stay with the viewer. By focusing on underage viewers and films that had been deemed unsuitable for their age, I hope to review Kuhn’s claim, by resituating the film itself as the prominent memory – a memory not replaced by many decades of movie watching since. This article outlines the methodology for the project, before turning to a discussion of participants’ memories of interrupted film viewings. In exploring the dichotomy between memories of viewing conditions and memories of the film themselves, this article then considers memories of the horror genre (and terrifying scenes in other genres), and also the issues of watching sex in films, and the impact of parental restrictions, or watching while with parents. \u0000 \u0000 \u0000","PeriodicalId":37086,"journal":{"name":"Images (Poland)","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77022600","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Kina dla Niemców w okupowanym Krakowie na tle kin dla Polaków: polityka repertuarowa i preferencje filmowe widzów

Images (Poland) Pub Date : 2023-01-05 DOI: 10.14746/i.2022.41.12

A. Dębski

引用次数: 0

What is so (Un)Exceptional About Soviet Cinema? The Pragmatics of Soviet Film Exports to Germany and France in the 1920s 苏联电影有什么特别之处?20世纪20年代苏联电影出口到德国和法国的语用学研究

Images (Poland) Pub Date : 2023-01-05 DOI: 10.14746/i.2022.41.03

Nataliya Puchenkina

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The audience and reception of the films from the Profil Film Unit in 1982-1989 1982-1989年profile电影单元电影的观众和接受情况

Images (Poland) Pub Date : 2023-01-05 DOI: 10.14746/i.2022.41.07

Jarosław Grzechowiak

{"title":"The audience and reception of the films from the Profil Film Unit in 1982-1989","authors":"Jarosław Grzechowiak","doi":"10.14746/i.2022.41.07","DOIUrl":"https://doi.org/10.14746/i.2022.41.07","url":null,"abstract":"\u0000 \u0000 \u0000The subject of this article is an analysis of the distribution, attendance results and reception of feature films made by the Profil Film Unit in 1982–1989. The Profil Film Unit was the second film group (alongside Iluzjon, headed by Czesław Petelski) to be reactivated by the cinematography management after martial law was declared in Poland. The artistic director of Profil, Bohdan Poręba, enjoyed the trust and support of the Party authorities, linking his allegiance to communist dogma to his activity in the nationalist ‘Grunwald’ Patriotic Association. Profil’s productions were boycotted by a large part of the acting community (also due to an appeal by the Solidarity Stage and Film Artists published in the newspaper “Tygodnik Mazowsze”), and some of the films made by this unit in the 1980s clearly followed the guidelines of the cultural policy of the Polish United Workers’ Party. The following questions will be answered: How did the political circumstances outlined above affect the distribution and reception of the films made by Profil? What attendance results did the films produced by Profil achieve and to what extent did they differ from the cinema ticket revenues of the films produced by other groups? How was the activity of the Profil Film Unit and the financial results achieved evaluated by the Supreme Board of Film Affairs? How were the productions of Profil received by film critics in the daily press and magazines? \u0000 \u0000 \u0000","PeriodicalId":37086,"journal":{"name":"Images (Poland)","volume":"10 1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77591933","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Alternative distribution and its role in the promotion of films produced by the Irzykowski Film Studio between 1981–1984 1981-1984年伊日科夫斯基电影制片厂制作的电影的另类发行及其在推广中的作用

Images (Poland) Pub Date : 2023-01-05 DOI: 10.14746/i.2022.41.06

Emil Sowiński

{"title":"Alternative distribution and its role in the promotion of films produced by the Irzykowski Film Studio between 1981–1984","authors":"Emil Sowiński","doi":"10.14746/i.2022.41.06","DOIUrl":"https://doi.org/10.14746/i.2022.41.06","url":null,"abstract":"\u0000\u0000\u0000The Irzykowski Film Studio was founded in 1981 as an institution that allowed young filmmakers to start their careers directly after graduating from the Film School. The studio could produce medium-length and short feature films and documentaries as well as animation. Nevertheless, all these types of films, according to the statute confirmed by the minister, were not to be officially cinema distributed, since they were supposed to be treated as a film exercise, a kind of practice run. Finally, it turned out that the Irzykowski Film Studio productions were regarded as fully fledged films that could compete with films produced by Film Units (i.e., the professional organizational entities of the Polish film production system at the time) or short film studios. What is not without significance, most films (not to say: all) were politically controversial. Therefore, the leaders of the Studio decided to show films to the audience, but they could not do it officially by applying for referral to cinema distribution. In connection with this, they were shown at small film festivals, inner (unofficial) screenings, and illegally distributed on VHS tapes. By extension, the range of distribution was narrow, but, curiously enough, the films were attracting a lot of interest from film critics, audiences and... state authorities. The aim of this paper is to analyze the alternative distribution process that occurred at the Irzykowski Film Studio. What films were shown at festivals, at internal screenings, and which were illegally copied onto VHS tapes? Had all the films shown been censored? How did state censorship react to test screenings with the audience? How did the critics and audience perceive these films? Did the presence of films at festivals influence their cinema distribution? And finally: how did the promotion and festival distribution of these films affect the perception of the Irzykowski Film Studio among the state authorities?\u0000\u0000\u0000","PeriodicalId":37086,"journal":{"name":"Images (Poland)","volume":"20 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83053477","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Dystrybucja filmów zagranicznych w Ludowej Republice Chorwacji na tle polityki kulturalnej Jugosławii (1944-1963)

Images (Poland) Pub Date : 2023-01-05 DOI: 10.14746/i.2022.41.13

Justyna Gluba

引用次数: 0

Rodzima klasyka filmowa w świadomości zbiorowej polskich widzów. Opinie Polaków o polskich filmach i ich postawy wobec polskiej produkcji filmowej

Images (Poland) Pub Date : 2023-01-05 DOI: 10.14746/i.2022.41.14

B. Giza, Michał Wenzel

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Jak działać, gdy „nobody knows anything”? Prawidłowości pośród wyników frekwencyjnych filmów w dystrybucji kinowej

Images (Poland) Pub Date : 2023-01-05 DOI: 10.14746/i.2022.41.15

M. Adamczak, Sławomir Salomon

{"title":"Jak działać, gdy „nobody knows anything”? Prawidłowości pośród wyników frekwencyjnych filmów w dystrybucji kinowej","authors":"M. Adamczak, Sławomir Salomon","doi":"10.14746/i.2022.41.15","DOIUrl":"https://doi.org/10.14746/i.2022.41.15","url":null,"abstract":"\u0000 \u0000 \u0000The distribution sector, contrary to film production, was not subsidized in 21st-century Poland from public funds, with only very rare exceptions. The distribution sector demands high levels of investment with regard to advertising movies and the necessity of building awareness of the titles before releasing them. The investment could be profitable but, in the case of a box office flop, becomes a permanent loss. Operating in the distribution sector is inevitably a high-risk endeavour. Predicting box office results is the key element of risk assessment made by distributors. The specificity of the film market and future results of the movies seem to be determined by uncertainty and unpredictability, according to William Goldman’s famous dictum nobody knows anything. However, distributors were able to develop a few ways to assess future box office results, at least roughly. The tendency to establish franchises and whole universes, the role of the opening weekend, the types of weekly results trajectories and the impact of major festival awards for the box office result are described in the article. In the case of the latter, the brand and capacity of the distributor seems to be more relevant than the award itself, which leads to conclusions about the crucial and probably still underestimated role of the distribution sector in the cinema. \u0000 \u0000 \u0000","PeriodicalId":37086,"journal":{"name":"Images (Poland)","volume":"19 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81474237","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Pierwszy raz w ciemnym kinie - filmowe reminiscencje w twórczości Krystyny Kofty

Images (Poland) Pub Date : 2023-01-05 DOI: 10.14746/i.2022.41.17

K. Witczak

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